I was thrilled when I finally got around to visiting The Garden at 120 on the roof of 120 Fenchurch Street (EC3M 5BA). The entrance is in Fen Court and before you even get to the lift you can look up and see the digital art installation by Vong Phaophanit and Claire Oboussier on the ceiling. There is also a haunting soundscape as well. It’s a fabulous piece of work (entitled The Call of Things) and you can read more about it here.
The ceiling at the entrance to Fen Court
You don’t have to book a time to visit, just turn up. Visiting times are set out on their website. After airport style bag checks a lift whisks you to the 15th floor where you have a 360 degree view. Here are a few of the images I took on a nice sunny day last week.
You can see the Gherkin in all its glory. A treat now that it is becoming more and more hemmed in by, frankly not very attractive, new buildings …
The Scalpel can be observed just alongside it …
The Walkie Talkie dominates part of the view …
In the distance, Canary Wharf …
and Tower Bridge …
The Shard is framed by the Witch’s Hat (the London Underwriting Centre) and the Walkie Talkie …
Down below a massive development takes place behind some preserved facades …
The roof is, of course, a garden as well as an observation point and the plants will eventually grow to form a pergola …
Many congratulations to insurer Generali and their architects Eric Parry for this stunning development and for making it so accessible.
Let’s not forget, however, the other great free view that can be enjoyed on the roof at One New Change (EC4M 9AF). Interesting views of St Paul’s start in the lift …
And continue on the roof …
The panorama includes the new apartments at Blackfriars, the Oxo Tower, the London Eye, the Unilever Building and the spire of St Augustine with St Faith (now part of St Paul’s Cathedral School) …
Both roofs are usually nowhere near as busy as you might expect.
High up on a tiled pillar in Barbican Underground Station is this poignant memorial …
For many years Pebbles was a favourite of staff and passengers, often sleeping soundly on top of the exit barriers despite the rush hour pandemonium going on around him. Here is a picture from the wonderfully named Purr’n’Fur website, a great source for moggie-related stories …
Clearly he was greatly missed when he died, as the plaque faithfully records, on 26th May 1997. This was doubly sad because he was due to be given a Lifetime Achievement Award. This was sponsored by Spillers Pet Foods and named after Arthur, a cat they used in their advertising who, I seem to remember, ate with his paws. The Certificate that came with the award is also displayed (the co-winner, the aptly named Barbie, was Pebbles’ companion) …
Pebbles’ posthumous award.
As I walked down the stairs to see the plaque I noticed that everything looks sadly tatty. However, just imagine these tiles when they were newly fitted before the War, with their geometric patterns leading you down to the Ticket Office …
And how wonderful, the Office window is still there, although instead of a helpful Ticket Clerk there is a poster. I reckon those lovely brass fittings and the counter date from the early 1930s. The pattern on the tiles continues down here as well – such thoughtful design …
The station, originally called Aldersgate Street, was opened on 23 December 1865 and had a large glazed roof which allowed light down to the platform. Here it is in 1936 …
The roof was removed in 1955 but you can still see the supporting brackets …
John Betjeman wrote about the roof’s dismantling, calling the work Monody on the death of Aldersgate Street Station …
Snow falls in the buffet of Aldersgate station, Soot hangs in the tunnel in clouds of steam. City of London! before the next desecration Let your steepled forest of churches be my theme.
Barbican station holds the unenviable distinction as the scene of the tube network’s first ever passenger disaster. On 16 December 1866 three passengers were killed and a guard was seriously injured when a girder collapsed onto a passenger train in the station. The newspapers reported that service on the line was running again only 30 minutes after the accident.
Look out for the old parish boundary marker dated 1868 on the eastbound platform …
I have written in more detail about boundary markers in an earlier blog which you can find here. If you want to read more about the railways in the area, there is a great blog on the subject called Reconnections with useful maps and interesting pictures.
Onward now to the refurbished Farringdon Station. On climbing the stairs from the platform you can admire the original 19th century roof supports …
Just before exiting through the barriers I spotted some nice old stained glass windows. I had never noticed them before, it just shows what you can come across if you have time to dawdle …
I had as my guide a book by the brilliant Underground historian Antony Badsey-Ellis – Underground Heritage. He tells us that many Metropolitan Railway stations were modernised between 1914 and 1931 and the house style employed at what is now Farringdon Station was by Charles W Clarke …
The only decoration on the friezes was the diamond motif used by the railway …
It’s been reproduced as a heritage sign at Moorgate ..
And here it is again at Aldgate …
In the lobby is a beautifully maintained memorial to the seven people killed at Aldgate in the terrorist attacks on 7 July 2005 …
There is also a plaque commemorating the Queen’s visit in 2010 …
The tiles at Aldgate are very pretty and often include the Metropolitan Railway diamond …
And it’s nice to see some original platform signage from the 1930s (with original roof supports in the background) …
And finally, a ghost station …
You can still see the old entrance to Mark Lane tube station next to the All Bar One, just as Byward Street becomes Tower Hill. It closed on 4 February 1967 and was replaced by the nearby Tower Hill station. The entrance (through the arch on the left of the steps) now leads to a pedestrian subway …
I’m always intrigued by Londoners’ capacity to ignore odd behaviour. For example, I spent a good ten minutes bending over this grating, some of it virtually on my knees, and no one showed the slightest curiosity …
Junction of Greville Street and Saffron Hill (EC1M 3JF)
I was, of course, trying to hear the sound of running water since, directly underneath, runs probably the most famous of London’s ‘lost’ subterranean rivers, the Fleet. Its headwaters are two streams on Hampstead Heath, each of which was dammed into a series of ponds in the 18th century. At the southern edge of the Heath these descend underground as sewers which join in Camden Town. The waters flow four miles from the ponds to the River Thames, just underneath Blackfriars Bridge. Incidentally, it didn’t run down Fleet Street, it merely ran past its eastern, lower end.
This map, showing the route of the Fleet and various other waterways, is on display at the excellent Secret Rivers exhibition at the Museum of London Docklands …
Because of its later reputation, I always had a view that the Fleet where it joined the Thames would be a deeply unpleasant place, so this picture rather surprised me …
This painting (by a follower of Samuel Scott) was obviously influenced by Canaletto, who was based in England until 1755. Looking north across the Thames, it shows the entrance to the Fleet circa 1750 with Bridewell Foot Bridge, the City Wharf and Dock, and Blackfriars Stairs. The Fleet was developed into a canal up to Holborn, lending this view a Venetian appearance. This grand aspect, however, did not last long as the wharves proved unprofitable and Londoners continued to dump their rubbish in the river.
Originally a green river valley, the Fleet River had been gradually transformed into the Fleet Ditch, infamous for being a source of filth, corruption and disease. Observing a flood during a storm in 1710 Jonathan Swift penned the following lines …
Sweepings from Butchers Stalls, Dung, Guts and Blood, Drown’d Puppies, stinking Sprats, all drench’d in Mud, Dead Cats and Turnip-Tops come tumbling down the Flood.
Pope made this small literary contribution in 1728 …
To where Fleet Ditch, with disemboguing streams, rolls the large tribute of dead dogs to the Thames.
On display at the exhibition is sad little exhibit. Found during excavations of the old river bed, it’s a dog’s collar with the inscription ‘Tom at Ye Greyhound Bucklersbury’. Poor Tom.
There is a reminder in the exhibition of how muddy and dirty the City’s streets were. This pair of wooden pattens date from the 15th century and were used to protect shoes and raise the wearer above the mud. They have a leather hinge to aid walking …
London’s population grew rapidly through the seventeenth century from about 200,000 to about half a million which resulted in a significant rise in the need for coal. This was brought from the north east of the country in barges which offloaded at wharves in the tidal Fleet. Street names that survive today remind us of this …
And the thoroughfare that ended at the canal, so you couldn’t go any further …
The Fleet Valley from Clerkenwell to the Thames housed many of London’s prisons and all manner of vice was practised in the dingy, stinking claustrophobic rookeries (slums). Nor was there much privacy if you had to go to the loo. This medieval oak three-seater toilet seat was found over cesspit in a yard behind buildings that faced on to modern day Ludgate Hill …
This picture tells a story. It’s an 1841 drawing by Antony Crosby of the Fleet River at Holborn Bridge – note the wooden latrine projecting over the ditch on the left …
Holborn Viaduct was built between 1863 and 1869 in order to span the Fleet and provide level access from east to west – a great improvement in an era of horse-drawn traffic. You can see it reaches over a deep valley …
Looking north whilst standing on what was the bank of the old Fleet canal.
When I climbed the stairs to take a picture from above a curious City dragon popped his head up to see what I was doing …
Gradually the entire river was enclosed in Victorian sewer tunnels and it now flows into the Thames under Blackfriars Bridge (just below where the banker Roberto Calvi was found hanged in 1982) …
Rivers, such as the Thames and the Walbrook, influenced where the Romans founded Londinium and the Museum of London exhibition also illustrates the fact that our connection to water goes beyond the practical, reaching into the spiritual. While most objects found in London’s rivers are lost items, rubbish or remnants of river-related activities, some cannot be explained so easily. These bear witness to the spiritual importance of rivers.
On display, for example, is this first or second century AD small representation of a river god, possible Neptune, apparently cast or placed into the Walbrook …
And this piece of a marble offering is particularly fascinating …
The inscription has been translated thus:
To the Divinities of the Emperors (and) to the god Mars Camulus. Tiberinius Celerianus, a citizen of the Bellovaci, moritix, of Londoners the first …
It is the first example from the capital to use the word Londiniensi or ‘Londoners’. The language suggests a man who hailed from northern France and probably traded or travelled regularly within that region but whose home seems to have become London.
There seems to be no end to the wonderful paintings to be found at the Guildhall Art Gallery. This one is a representation of a famous Greek myth – the murder by Clytemnestra of her husband Agamemnon. Here she stands, wild-eyed in the Mediterranean sunlight, outside the room where she has committed the deed. In the background behind her we can just make out the outline of a dimly lit body …
‘Clytemnestra’ by John Collier (1882)
Agamemnon had commanded the Greek forces which besieged Troy during the Trojan Wars. Before setting sail for home, he sacrificed their youngest daughter Iphigenia to ensure a favourable wind for his fleet. To make matters worse, he returned with his lover, the prophetess Cassandra, the captured daughter of King Priam of Troy. Enraged and grieving, Clytemnestra and her son murdered them both in revenge
Collier was famous for his close attention to detail. There is light etching on the axe blade and the blood drips and runs authentically. All the little roundels we can see in the picture are different …
One has to say, however, that the more you study the figure the more it looks like a man. There is a pure physical dominance – and look at the muscular arms and large hands gripping the axe handle and holding back the curtain …
Collier brings extraordinary attention to detail in her blood-spattered garments.
It is now thought that Collier took his inspiration from an 1880 performance of Aeschylus’s Agamemnon at Balliol College, Oxford in which Clytemnestra was played by a male student, one Frank Benison.
On a much lighter note, here is a pretty little girl attending her first sermon …
‘My First Sermon’ by John Everett Millais
She obviously knows this is an important occasion in her life and sits with her back straight, eyes attentively focused looking ahead. She is the artist’s 5 year old daughter Effie. On seeing it the Archbishop of Canterbury commented …
… our spirits are touched by the playfulness, the innocence, the purity, and … the piety of childhood
In 1864 the artist produced a sequel entitled ‘My Second Sermon’ …
The Archbishop, Charles Longley, was obviously a rather good sport, and when he saw the later picture commented …
… by the eloquence of her silent slumber, (she has) given us a warning of the evil of lengthy sermons and drowsy discourses. Sorry indeed should I be to disturb that sweet and peaceful slumber, but I beg that when she does awake she may be informed who they are who have pointed the moral of her story, have drawn the true inference from the change that has passed over her since she has heard her “first sermon,” and have resolved to profit by the lecture she has thus delivered to them.
I was reminded of this wonderful drawing of a Victorian congregation who are finding the sermon rather heavy going …
At the far end of the gallery, in a space specially designed for it, you look down on the action-packed painting by John Singleton Copley: ‘Defeat of the Floating Batteries at Gibraltar 1782’ …
A Spanish attack on Gibraltar was foiled when the Spanish battering ships, also known as floating batteries, were attacked by the British using shot heated up to red hot temperatures (with wry humour, sailors nicknamed them ‘hot potatoes’). I have written about this picture in more detail in an earlier blog which you can find here.
However, there was a detail I missed and really should have pointed out. Fire spread among the Spanish vessels and, as the battle turned in Britain’s favour, an officer called Roger Curtis set out with gunboats on a brave rescue mission which saved almost 350 people. Here is the gallant officer and his men carrying out the rescue, tucked away at the bottom left of the picture. The British flag billows symbolically behind them …
Undoubtedly a very chivalrous act.
A rather distinguished looking man gazes towards a painting of the Grand Opening of Tower Bridge on 30 June 1894 …
He is the architect, Horace Jones, who designed the bridge but sadly died in 1887 before it was completed.
The painting is by William Lionel Wyllie (1851-1931), the most distinguished marine artist of his day …
My eye was immediately drawn to the lady in the light blue dress and the man who looks like her companion sitting on his collapsible chair …
They were obviously important enough to bag a riverside view along with other folk who seem to have packed a wine-accompanied picnic. I know she’s looking through binoculars but I couldn’t get the idea out of my head that she was taking a picture with her smartphone.
There are more treasures on display this week including Horace Jones’s original plans (but they don’t photograph very well through glass) …
I really can’t resist views of London that incorporate the river …
The Thames by Moonlight with Southwark Bridge by John Atkinson Grimshaw (1836-1893)
Today Leeds born Grimshaw is considered one of the greatest painters of the Victorian era, as well as one of the best and most accomplished nightscape, and townscape, artists of all time.
And finally, I paid a quick visit to the Roman Amphitheatre in the basement and took this picture of what is believed to be the opening used to allow wild animals to enter the arena. We can see two slots into which a gate may have been raised and lowered …
If you haven’t done so yet I highly recommend the free guided tours that take place on Tuesdays, Fridays and Saturdays – you can find out more here on their website.
Every now and then I have been featuring City animals in the blog and I am going to to pick out again some of the ones I like best.
There is the grumpy dolphin from The Ship pub in Hart Street (EC3R 7NB) …
He needn’t look so worried – both he and the pub are Grade II listed
What about this splendid animal standing outside Spitalfields Market with Hawksmoor’s 1714 masterpiece, Christ Church, Spitalfields, in the background …
This goat would have got my vote
Wonderfully entitled I Goat, it was hand sculpted by Kenny Hunter and won the Spitalfields Sculpture Prize in 2010 (E1 6AA). The artist commented …
Goats are associated with non-conformity and being independently-minded. That is also true of London, its people and never more so than in Spitalfields.
This honey bee is, appropriately, a keystone over the entrance to Honey Lane which connects Cheapside with Trump Street (EC2V 6DB).
107 Cheapside – a busy bee buzzes up to some fruit and flowers
It is part of the old headquarters of The Sun Life Assurance Society whose Zodiac covered entrance I wrote about in my earlier blog Looking at the Stars. Although the connection to Honey Lane is obvious, it’s possible the insurance company also liked the reputation bees have for industriousness and providing for the future. The name of the lane comes from the bee-keepers who used to live there and it also once led to All Hallows Honey Lane, a medieval church destroyed in the Great Fire.
This little Scottish terrier is called Chippy. He rests now in All Hallows by the Tower at the feet of his master the Reverend ‘Tubby’ Clayton CH MC who became vicar of the Church in 1922 and remained there until 1963. He is best known for his work initially as an army chaplain during the First World War and in particular the establishment of Talbot House, a unique place of rest and sanctuary for British troops. After the war the spirit and intent of Talbot House became expressed through the Toc H movement.
All Clayton’s Scottish Terriers were called Chippy
A wise owl gazes at the commuters as they trek over London Bridge
from his perch on the House of Fraser store opposite the north entrance
to the bridge.
The building used to be the offices of the Guardian Royal Exchange Insurance Company
As you approach the Bank junction from Cheapside look up and you will see two young boys at either end of the grand building that was once the City headquarters of Midland Bank (1935). The are both struggling with a rather angry looking Goose …
The sculptor was William Reid Dick
Why a goose? A clue is the ancient name of the street and the goose was a suggestion by the architect Sir Edwin Lutyens to commemorate its original market function. The building is now a private club and restaurant, called The Ned in Sir Edwin’s honour (he would no doubt be chuffed).
This magnificent leaping fox appears on the exquisite Grade II listed Art Deco shopfront of the Fox company, who manufactured and repaired umbrellas. Mr Fox opened his first shop in the City in 1868 but this shop dates from 1935. You can still purchase a classy Fox umbrella if you go to their website, but the shop is now a wine bar.
Fox and Company Limited, ‘Recovers’ and ‘Repairs’, 118 London Wall, EC2Y 5JA
Once surrounded by the throbbing printing presses of Fleet Street newspapers, Gough Square is today a quiet haven off the noisy main road. Now known as Dr Johnson’s House, 17 Gough Square was built by one Richard Gough, a City wool merchant, at the end of the seventeenth century. It is the only survivor from a larger development and Dr Johnson lived here from 1748 to 1759 whilst compiling his famous dictionary …
Nearby, Johnson’s most famous cat, Hodge, is remembered by this
attractive bronze by John Bickley which was unveiled by the Lord Mayor,
no less, in 1997. Hodge sits atop a copy of the dictionary and alongside
a pair of empty oyster shells. Oysters were very affordable then and
Johnson would buy them for Hodge himself. James Boswell, in his Life of Johnson, explained why:
I never shall forget the indulgence with which he treated
Hodge, his cat: for whom he himself used to go out and buy oysters,
lest the servants having that trouble should take a dislike to the poor
creature
People occasionally put coins in the shell for luck and every now and
then Hodge is given a smart bow tie of pink lawyers’ ribbon.
‘A very fine cat, a very fine cat indeed’, said Johnson
And finally, from a famous cat to mysterious mice. Nibbling a piece of cheese, they add charm to a building in Philpot Lane off Eastcheap and have been described as London’s smallest sculpture. Even though they have been repainted they are still a bit hard to find – so I am not saying precisely where they are, and hopefully you will enjoy looking for them. One theory is that the builders in 1862 were pestered by mice who persistently ransacked their lunch packs, so they left this little informal tribute. Another is that they commemorate a man who died during the construction of the nearby Monument to the Great Fire. Mice had eaten his lunch, but he accused a fellow worker by mistake, and fell to his death in the fight that followed. As to the true story behind the little rodents, your guess is as good as mine.
This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.
Strictly Necessary Cookies
Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings.
If you disable this cookie, we will not be able to save your preferences. This means that every time you visit this website you will need to enable or disable cookies again.
